Uploaded April 2022 | Updated September 2026, 1 week ago
Christchurch is still flying the Garden City flag, but is it still backing it up? Elizabeth Peacock certainly doesn’t think so.
A past president of the Canterbury Horticultural Society, Elizabeth tells Frank Film that the state of some of the planted spaces of Christchurch are a disgrace. “I would be ashamed to bring anyone to have a look,” she says.“A garden should be joyous!”
With the Garden City catchphrase still rolling off the tongues of most Cantabrians and Kiwis at large, Frank Film looks at whether Christchurch is still actively earning its brand, or simply paying lip service.
Like most long-standing catchphrases , most people can’t remember or don’t know how it came to be. It’s actually over 100 years old, and dates back to 1906, when Hagley Park played host to the New Zealand International Exhibition.
Sir John Gorst of the British Government was attending the exhibition, and Christchurch reminded him of garden cities in the motherland. He declared it as such, and in doing so coined the title for the first time.
A long while later, in the 80s and 90s, New Zealanders were itching to throw off the weight of the British blanket and claim their own identity, garden variety included. There was a movement to establish a New Zealand garden identity, and in the 90’s, the city’s Head of Parks, Neiel Drain decided to take Christchurch to the world stage.
The Nations in Bloom competition had been established to find and celebrate the best garden city in the world, and as Drain told Frank Film, he was “determined to give it a fair shot”. After all, Christchurch covered all the criteria for heritage, landscape, community involvement and planning.
Drain’s hard work paid off, and Christchurch took out the medal. This seemed to calcify the title of Garden City, but what’s happened since? It would appear, in some parts at least, the city’s garden spaces are a little under-maintained, sparse, even scruffy.
Elizabeth, for one, is entirely unimpressed. “It’s appalling,” she says about one planted riverside spot. She thinks gardens should be colourful, and something that you stop to look at, not walk by without noticing.
Andrew Rutledge is the present day Head of Parks, and defends the current approach. “We’re heading into a much more naturalised phase,” he tells Frank Film, “with a bigger focus on indigenous planting. They’re not gardens.” This, according to Andrew, is meeting resistance from those who are still after the “highly groomed lawn”.
Andrew says that the plants which appear to be dying will in fact resurrect themselves. He has a degree in Botany, was a groundskeeper at Lancaster park for many years and has “driven the odd roller” in his time.
But, he does admit that there’s room for improvement, and says the weeds and obvious dearth of maintenance are down to staff being stretched too thin. So is it a lack of funding? Or a lack of skills? He thinks it’s a bit of both.
Alan Joliffe, a former vice president of the Royal New Zealand Institute of Horticulture, argues that there needs to be more effort put in to replant dead and dying plants. “We need to understand that these plants don’t live forever, so we need to take it out, replant it again and bring it back to life,” he tells Frank Film.
Alan thinks upskilling staff is the way to go, and that it’s a worthy cause. “We need to keep at it, we need to have this vision for what it can do for our society,” he says.
What is clear is that there’s not one leader taking the charge on this one, which Neiel, arguably the biggest authority on the subject, thinks is nonsense. As he showed back in the 90’s, it seems time for someone to grab the bull by its horns and take the lead.
That is, if Christchurch still wants the Garden City label. But perhaps it’s time for a rebrand?
Producer/Director: Gerard Smyth
Editor: Oliver Dawe
Story Producer: Ana Olykan
Production Manager: Jo Ffitch
Sound Mix: Chris Sinclair
Production Asst: Romah Chorley
Christchurch is still flying the Garden City flag, but is it still backing it up? Elizabeth Peacock certainly doesn’t think so.
A past president of the Canterbury Horticultural Society, Elizabeth tells Frank Film that the state of some of the planted spaces of Christchurch are a disgrace. “I would be ashamed to bring anyone to have a look,” she says.“A garden should be joyous!”
With the Garden City catchphrase still rolling off the tongues of most Cantabrians and Kiwis at large, Frank Film looks at whether Christchurch is still actively earning its brand, or simply paying lip service.
Like most long-standing catchphrases , most people can’t remember or don’t know how it came to be. It’s actually over 100 years old, and dates back to 1906, when Hagley Park played host to the New Zealand International Exhibition.
Sir John Gorst of the British Government was attending the exhibition, and Christchurch reminded him of garden cities in the motherland. He declared it as such, and in doing so coined the title for the first time.
A long while later, in the 80s and 90s, New Zealanders were itching to throw off the weight of the British blanket and claim their own identity, garden variety included. There was a movement to establish a New Zealand garden identity, and in the 90’s, the city’s Head of Parks, Neiel Drain decided to take Christchurch to the world stage.
The Nations in Bloom competition had been established to find and celebrate the best garden city in the world, and as Drain told Frank Film, he was “determined to give it a fair shot”. After all, Christchurch covered all the criteria for heritage, landscape, community involvement and planning.
Drain’s hard work paid off, and Christchurch took out the medal. This seemed to calcify the title of Garden City, but what’s happened since? It would appear, in some parts at least, the city’s garden spaces are a little under-maintained, sparse, even scruffy.
Elizabeth, for one, is entirely unimpressed. “It’s appalling,” she says about one planted riverside spot. She thinks gardens should be colourful, and something that you stop to look at, not walk by without noticing.
Andrew Rutledge is the present day Head of Parks, and defends the current approach. “We’re heading into a much more naturalised phase,” he tells Frank Film, “with a bigger focus on indigenous planting. They’re not gardens.” This, according to Andrew, is meeting resistance from those who are still after the “highly groomed lawn”.
Andrew says that the plants which appear to be dying will in fact resurrect themselves. He has a degree in Botany, was a groundskeeper at Lancaster park for many years and has “driven the odd roller” in his time.
But, he does admit that there’s room for improvement, and says the weeds and obvious dearth of maintenance are down to staff being stretched too thin. So is it a lack of funding? Or a lack of skills? He thinks it’s a bit of both.
Alan Joliffe, a former vice president of the Royal New Zealand Institute of Horticulture, argues that there needs to be more effort put in to replant dead and dying plants. “We need to understand that these plants don’t live forever, so we need to take it out, replant it again and bring it back to life,” he tells Frank Film.
Alan thinks upskilling staff is the way to go, and that it’s a worthy cause. “We need to keep at it, we need to have this vision for what it can do for our society,” he says.
What is clear is that there’s not one leader taking the charge on this one, which Neiel, arguably the biggest authority on the subject, thinks is nonsense. As he showed back in the 90’s, it seems time for someone to grab the bull by its horns and take the lead.
That is, if Christchurch still wants the Garden City label. But perhaps it’s time for a rebrand?
Producer/Director: Gerard Smyth
Editor: Oliver Dawe
Story Producer: Ana Olykan
Production Manager: Jo Ffitch
Sound Mix: Chris Sinclair
Production Asst: Romah Chorley






![Andris Apse: A life through the lens of landscape, loss and Latvia
Andris Apse is one of New Zealand’s greatest landscape photographers, yet his personal story reminds us that life itself can sometimes match the beauty and strangeness of our finest art.
As a five year-old, Apse came to this country from Latvia with his mother Kamilla - refugees fleeing the chaotic aftermath of WW2. The family had been separated, and Voldemars - Kamilla’s beloved husband and Andris’ father - was presumed dead. Some 45 years later, Apse recalls getting an urgent phone call from his mother. She had received a letter in handwriting she instantly recognised.
Talking candidly to Frank Film, Apse describes a life of experiences ranging from hunger and hardship to the eventual rewards of a career capturing the sublime beauty and mood of his beloved New Zealand landscapes.
The career-defining moment for Apse came about when a job with Forest Research first took him into Fiordland.
“We went over miles and miles of country where there were no people, just the sound of the birds, sound of the water and the sound of the vegetation blowing in the wind.
“I didn’t own a camera then, but I thought, ‘I’ve got to go back and buy a camera and come back to Fiordland, and show people what we’ve got here.’
“I became obsessed with it, really.”
The quality and distinctiveness of his photographs, and some timely sponsorship, meant Apse was ultimately able to become a full time landscape photographer.
This clear sense of purpose had been a long time coming. During the war, Andris’ parents and their infant son faced an uncertain future in frightening times.
“They were in their early twenties when they met and fell in love. Then I was born, and he had to go off to the Front.”
“They were torn apart, physically. And he saw me only once.”
The deep love between Apse’s father, Voldemars (Valdis), and mother Kamilla (Millija, is eloquently expressed in Voldermars’ letters and diary entries, excerpts from which Apse generously shares on camera.
Dear Millija, I am longing for you. Whenever you’re not with me, everything seems dark and gloomy.
After nearly five years in a refugee camp in Germany, with hunger as an ever-present companion, Apse and his mother were able to embark on a new life in New Zealand.
“We only had what my mother could carry, which was her bag of letters and me.”
“We were a solitary sort of partnership, mother and son. It was a very lonely existence for us. It was terrible really.”
After Kamilla remarried, Apse was not welcome by his stepfather at home, so he took himself off to forestry school in Nelson. He describes the stark reality of his alone-ness when, come holiday time, classmates were heading home, one by one, to their families.
“I pretended that I had family and friends because I didn’t want to be seen as a lone wolf.
“I’d watch them all go, and I was [always] going to get the next bus out, the next bus out…”
Ironically, there’s a link between Apse’s odyssey to New Zealand and his working methodology. The capacity for isolation and concentration has served his art well.
Ninety percent of his work, he tells Frank Film, goes into planning and exploring.
“I only take 20 photos a year, really. But I spend days researching locations, and trying to narrow down exactly where I have to stand - whether it’s here, there or a metre over there.”
The letter his mother received out of the blue from her dear Valdis changed everything.
“There was great joy. Initially.
“But 45 years is a lifetime, isn’t it. We knew that it was lifetime when we faced each other after the initial greetings and cheers.
“We realised that there was… a lifetime between us, which was quite sad.”
We can all be grateful though, for the life’s work Apse has created, regardless.
Producer/Director: Gerard Smyth
Editor: Oliver Dawe
Story Producer: Rose OConnor
Production Manager: Jo Ffitch
Sound Mix: Chris Sinclair
Production Asst: Romah Chorley
WATCH OTHER EPISODES HERE: https://frankfilm.co.nz/ Andris Apse: A life through the lens of landscape, loss and Latvia](https://i.ytimg.com/vi/P_8TJP0coE0/mqdefault.jpg)



